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I did what we call dry for wet effects, some of the miniatures work and two animation sequences.
I always admired Walt's optimism. He seemed to know the direction he was going to. When I was at the studio, I remember he kept driving all of us back down to a more fundamental level all the time.
For instance, some early ideas for Florida were done only recently. The idea of a little village was there from the beginning and now we have this Celebration village. Same thing for the Disney Institute. Walt talked about this idea in the very first.
Even in China. Children there, next to the Great Wall, who had never seen Mickey Mouse responded. So the studio did have that skill to communicate with images.
Color is a very critical thing. I've found that architects don't like colors. Engineers too. And so somebody has to stand in. Because this is the finish of it. It is the emotional part of a structure. I had great satisfaction in doing that.
But Walt and him shared the same kind of optimism. Walt believed in himself, and he was optimistic about what he wanted to do. He just knew it will be okay, and Dali was the same way. They had a great deal in common that way.
Big cities are chaotic. And chaos for humans - who have experience from their ancestors - is the last step before conflict. So, in the park, every kind of visual contradiction has been eliminated.
Because, you know, it's never a hard work when you enjoy yourself. Look, I've been here since 57 years, and I don't have to explain why I've stayed so long. I always enjoyed it.
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